Earlier this year, my sister-in-law posed the question as to whether the album was still relevant. A timely question, to be sure. Folk have been declaring the death of the album for years now, but in truth it has always supported less volume than the 7" single (for instance). The 7" single was traditionally the great equalizer, the point of entry - and proving ground - for breaking artists. This was the format in which The Standells could hope to go toe to toe with The Rolling Stones in the charts. It remained the prime habitat for many scenes (reggae and punk, for example) long after the album rose to prominence.
Similarly, the 12" single was but an elaboration on the format, its extended running time ideal for the demands of the dancefloor. But the album... the album was something different altogether. In most genres only the auteurs get around to making them, and even some of the greatest artists never did (either by choice or due to circumstance). However, there's no getting around the fact that its been a fixture of the music industry for well over sixty years. So perhaps it would be valuable to go back to the root of the format for a moment.
The long-playing album initially took hold in the 1950s, when it finally supplanted the 70rpm shellac discs that had been the industry standard since the 1920s. The format was a clear winner in that it was both far sturdier than the often brittle shellac discs and could store far more music (22 minutes per side, as opposed to the five minute limit of the original 70rpm discs).1 This made the format ideal for compilations, often pulling together a brace of singles or other previously released materials into one succinct package. In fact, some of the earliest LPs were enhanced/extended versions of 10" records like Chet Baker Sings, Billie Holiday's Solitude2 and Thelonious Monk's Genius Of Modern Music.
Rather quickly, certain artists gravitated to the format. Frank Sinatra famously took to the form, crafting themed records like Songs For Swingin' Lovers and In The Wee Small Hours. The album was also a crucial showcase format for early rock and blues - artists like Elvis Presley, Ray Charles and Howlin' Wolf - often rolling some contemporary singles and a handful of new tracks into a discrete work. Yet if there was one scene that really embraced the format from the word go, it was jazz. The album rather quickly became the base unit of the genre, even beating rock 'n roll to the punch in the process.
Indeed any thoughtful round up of great albums from the 1950's would be littered with jazz: from John Coltrane's Blue Train to Thelonious Monk's Brilliant Corners and Sonny Rollins' Saxophone Colossus, there's a veritable treasure trove of delights nestled within the decade. Duke Ellington famously dove headfirst into the format with longform works like Such Sweet Thunder and Black, Brown And Beige, with often sterling results.
Now the sixties are when the album really began to gain steam as a cultural force, with the twin innovations of hard bop and free jazz making their home on the format. Blue Note alone moved a serious number of units in the first half of the decade. Then, coming from rock 'n roll, artists like The Beatles and Bob Dylan worked out further possibilities of the form, with Sgt. Pepper's Lonely Hearts Club Band arguably giving birth to the concept album, and Blonde On Blonde inaugurating the era of the gatefold double-album. The floodgates opened when artists like Jimi Hendrix, The Doors and Jefferson Airplane all turned out deeply conceptual albums within the span of a single year, and as the decade came to a close Led Zeppelin and Pink Floyd - artists that would come to define the album-as-artistic-statement in the popular imagination throughout the seventies - made their initial splash.
Soul music - despite its erstwhile status as a singles genre - began generating great albums as early as Booker T. & The M.G.'s Green Onions through Otis Redding and Aretha Franklin's sterling run, along scores of great Motown records (even before Marvin and Stevie rewrote the rulebook3).
If there's one decade where the album peaked then it was the seventies. This the era of progressive rock - progressive everything, truth be told - with genres as disparate as rock, funk, reggae and even bluegrass stretching out into longform works (sometimes even filling a song to a side). Krautrock too, despite a brace of great singles, was thoroughly in thrall to the form. Indeed most rock - bar glam, and even that had it's slew of classic LPs from the likes of T. Rex to The Sweet - was centered on the form (contrasted with the amount of Nuggets bands that might have only had one or two singles to their name when all was said and done). David Bowie is an excellent example of this phenomenon in action, cutting a string of classic albums spanning the entirety of the decade - even the ones deemed disappointments at the time have long since been reappraised - while still managing to service the jukeboxes with red hot singles like Golden Years and Suffragette City.
It was around this time that the double-album became commonplace, while the live album blossomed into a key pillar of the album market (the two overlapping as often as not). Soul got increasingly conceptual as well, signposted by Curtis Mayfield's unparalleled winning streak to James Brown's extended cold sweat workouts, reaching its culmination with the ongoingParliament/Funkadelic saga. Even reggae - that stalwart of the 7" single - was knee deep in elpees as the decade wound down, informing the ascendant post punk in the process (with PIL's Metal Box playing with the format itself). It's at this moment, coinciding with the rise of disco, that the 12" single begins to be felt as a presence.
As a result of the restored primacy of the dancefloor, or perhaps the proverbial pendulum swinging back from the conceptual overload of the 1970s, the eighties in many ways seemed to place the focus squarely on the single. Think New Order's Blue Monday, for instance, an event release comparable to the marquee albums of the previous decade. Still, there was a healthy crop of great LPs peppered through the 1980s, with The Clash even cutting their Sandinista! triple-LP at the dawn of the decade. Shortly thereafter came the early stone tables of alternative, classics along the lines of Hüsker Dü's Zen Arcade and the Minutemen's Double Nickels On The Dime mapping out the form (both of them doubles, in fact).
Prince traversed the decade much like Bowie had the decade prior with a near-spotless sequence of classic albums (even if, like Bowie, he still had a penchant for the single form). In truth a lot of singles genres still managed to toss up a smattering of killer albums. I'm thinking of Mtume's Juicy Fruit and Alexander O'Neal's self-titled debut (on the electrofunk and modern soul tip, respectively), not to mention Scientist's storied dub reggae slates and choice dancehall long-players from the likes of Tiger, Tenor Saw and Yellowman.
And of course hip hop began developing into an album form as the decade progressed - even if it remained largely singles-based: only the big boys got to do albums - and as it drew to a close, the rap album became a matter of course, a given. See any number of LPs that routinely make greatest-ever album lists: N.W.A.'s Straight Outta Compton, Public Enemy's It Takes A Nation Of Millions To Hold Us Back and BDP's Criminal Minded. Similarily, house music produced its own series of classic albums from producers like Larry Heard and Lil' Louis as the decade drew to a close. You can't knock something like Virgo's self-titled album from 1989.
Aside from dance music - which here in the states the mainstream all but ignored most of the time (to its shame) - the nineties were a big return to the album format, with big ticket releases like Nirvana's Nevermind and Dr. Dre's The Chronic becoming event releases on par with Led Zeppelin IV and Dark Side Of The Moon. Hip hop leapt confidently into its full-tilt album phase, with bizarre longform works by the likes of Redman and The Wu-Tang Clan as gnarled as anything out of the progressive seventies, and focused on conceptuality to boot. Even in dance music and electronica, surely the textbook definition of a singles genre, loads of great albums surfaced over the course of the decade, records I wouldn't want to live without. There are practically oceans of great techno LPs from both sides of the Atlantic, from Model 500's Deep Space to Bandulu's Cornerstone. Even steadfast vinyl mystics Basic Channel put out a series of CDs that rounded up their 12" work into an album-like shape.
Similarily, jungle - like reggae, a quintessentially singles-based genre - had a knack for pulling together a great full-length record, with 4 Hero's Parallel Universe and Kemet Crew's Champion Jungle Sound practically serving as twin sides to the same coin. Kevin Pearce's excellent A Cracked Jewel Case really immerses itself in this territory, unearthing forgotten CD releases from various artists scattered throughout the dance continuum. In truth, many of my own personal favorites populate the pages of that book, as up until late in the decade I was largely reliant on albums to get the fix I was after. It took awhile before I could afford turntables, so I was consuming nearly all of this music in the form of CDs (I'd scoop up nearly everything I could on Submerge and Studio !K7), and I'd go to bat for a great many of them. I actually have a half-finished breakout on that very subject - 20 great dance CDs - kicking around somewhere.
At the turn of the century, there were almost too many great albums to keep tracks of: Radiohead's Kid A, Oukast's Stankonia, Daft Punk's Discovery and Isolée's Rest, spring to mind immediately, while bands like Franz Ferdinand and The Strokes turned out classicist LPs in a new wave style. It was largely business as usual, the seventies' shadow that hung over the nineties gave way to the eighties and all the attendant reference points.
The party continued largely uninterrupted through 2006 (the year of Ghostface's Fishscale, J Dilla's Donuts and Avatar by Comets On Fire), but as the decade wore on you could slowly feel the care slipping from the form, with albums seeming to grow less consistent by the year. Records like Erykah Badu's New Amerykah: Part One (4th World War) and The Good, The Bad & The Queen's debut came correct but suddenly they felt like disconnected islands rather than part of any greater scene or grouping... and the water separating them was cold indeed! The trend became more glaring as the decade wore on, and indeed continues right up to the present day.
Which brings us back to the question at hand: is the album format still relevant? I'd say yes indeed, and without a moment's hesitation. Records like Kelela's awesome Cut 4 Me) and Kendrick Lamar's To Pimp A Butterfly stand out as recent examples of unmissable album experiences. As much as people talk about just singling out tracks and making playlists (not that there's anything wrong with that), I think there will always be call for the sustained experience of a full-length album. There's just too much that can be done with the format that can't be found anywhere else. Burial hardly would have made sense as a singles artist (even if I'm sure there's plenty who singled out Raver and left it at that).
So I think there's still life in this little format from the fifties after all, and I wouldn't doubt that it still has a few surprises hidden up its sleeve. With even the reigning chart royalty - figures like Beyoncé, Kanye and Taylor Swift - clearly putting a lot of work into crafting coherent album-length statements, it remains a crucial part of the pop music experience. So go ahead and spin that record from start to finish if you please, because the album is here to stay.
Picking up where we last left off, it was January of 2006. I found myself back in the Heights - living with my brother in a spot off El Cajon Blvd. - after a year spent living between Hillcrest and Balboa Park. The neighborhood was my kind of place, with a varied working class population crammed into a timeworn infrastructure that pre-dates the second world war. There was a public library a few blocks away and an excellent bar down the street called Shamrock's that played a selection of vintage rock (of the San Francisco variety) or block rocking hip hop and r&b, depending on the night.1 As Lamont Dozier might say, I was going back to my roots.
A couple of synchronous events had occurred just before the move that colored the next year or so. For one, I discovered Woebot's blog by way of his epochal list of The 100 Greatest Records Ever (via a timely link from Blissblog), which - more than any list I've ever found - seemed to align with my own musical priorities.2 It was uncanny! In truth, I'd only heard about half the records in the list, many of which were among my own favorites, and I'd heard of maybe another 30%; the rest represented a new frontier. It was clear that most of them would be right up my alley, and it was time to get hunting.
There were loads of cool revelations, like how often our favorite records by key artists overlapped: Kraftwerk's Computer World, Herbie Hancock's Sextant, The Velvet Underground's self-titled record, Neu! '75, Rhythim Is Rhythim's The Beginning and Captain Beefheart's Safe As Milk.3 His list also tuned me into the music of Scott Walker, Virgo, Edu Lobo, Brigitte Fontaine and Allen Toussaint, sounds that would come to mean the world to me. This isn't even taking into account the writing itself, which always came off witty and warm, coloring even his most esoteric excursions into the avant garde with a down-to-earth flavor. Without a doubt, discovering Woebot's scurrilous activities in sound remains one of the key moments in my musical life.
The other event that went down toward the end of my time at the 1808 was the near-simultaneous appearance of SA-RA and Hot Chip on the pop music landscape: two crews that were so very tailored to my tastes that it was almost comical. There's a piece I've been working up centered around their appearance (in light of the recent Hot Chip show), but for now suffice it to say came along at just the right time for where I was at in 2005.
Moodymann's recent Black Mahogani LP was fast overtaking Silentintroduction as my favorite record of his, and I'd been diving deeper into disco and garage than I'd ever been able to before. The output of labels like West End and Easy Street were in constant rotation, along with some other things that I'd been turned onto by one Kenny Dixon Jr.4 There were loads of greet electro-boogie records to be found for pennies (an ongoing obsession), things like Ray Parker Jr.'s Woman Out Of Control and One Way's Who's Foolin' Who.5 SA-RA dropping at this point only served to bring my various obsessions into focus.
Shamrock's had tuned me into a whole bunch of hip hop and r&b around this time, along with a number or choice rock selections. This the era when Comets On Fire dropped their masterstroke, Avatar, sending me into the past digging up a bunch of storied Head Heritage material like Pentagram, the first three Blue Öyster Cult LPs and early Grand Funk Railroad.6 Augmenting old favorites like the Groundhogs, MC5 and Blue Cheer (not to mention Black Sabbath, Led Zeppelin and Van Halen, of which my brother was a huge fan), it provided the soundtrack to that summer.
Barney Hoskyns' Hotel California had just come out around this time, illuminating the context around the Laurel Canyon scene in L.A. (something I was a bit thin on). Nearly everything I already knew I'd found out by simply following the various lines of flight from The Byrds' orbit. Things like Gene Clark's solo records, The Flying Burrito Bros and Crosby, Stills & Nash. Which then connects to Buffalo Springfield and Neil Young/Crazy Horse, not to mention of the early solo albums by David Crosby, Stephen Stills and Graham Nash. That's how it works, this music thing, you go from node to node. Hotel California fleshed it all out, and provided the impetus to dig a little deeper.
All of which sets the stage for the second era of Radio AG, a period stretching from the dawn of 2006 to the close of 2007. I finally had a proper setup for my decks again (I'd had them laid out on the floor at the 1808). The mixes from 2006 were all coming to terms with the above tributaries, threading them into a matrix of groove-based music and taking the intended audience just a little deeper into the realm. There's that one mix where I played out the entirety of Halleluwah because it seemed like the right thing to do. The lions share of the year's mixes were from the summertime, and it shows. Lot's of high desert action, dry and dusty.
2007 was really the sea change. The winter mix was the first where I was really able to run wild with a consistent atmosphere, opening with Asmus Tietchens and closing with When The Levee Breaks. Everything had an glacial cast to it, from an unreleased Kelis tune to late-period Gentle Giant and early Simple Minds (a perennial favorite), it came on like an icy gust of wind. The next few mixes got deeper and deeper into beats, which is something I'd always meant to do. Drexciya, Scan 7 and Theo Parrish. The table was finally set.
At the end of the year, G.B. loaned me a stack of records with the stated mission to make a mix out of them. The result was Episode 012. It was a great experience, working with a bunch of records I'd never heard before (I was only familiar with something like five of them), and on the whole pleasantly disorienting (like one imagines deep sea diving to be). Especially eye-opening were the Sneakmove Minicomps and the records on Bully, which were great breakbeat-driven slabs of noise seemingly built atop live drums.7
The uniting thread throughout was a sort of post-rock, post-everything even, selection of sounds. There were beats that seemed to blur the lines between IDM and abstract hip hop, like the remix of Boom Bip by Boards Of Canada. There was James Figurine's cover of Other 99 (an old Big Audio Dynamite song that became the name of my original blog back in 2003) along with a G.B. original. It was a fascinating realm to spend some time in, resulting in the second true winter mix. Coming at the close of 2007, it's also the perfect way to close out the second chapter of the Radio AG saga.
And then, a long break...
A few years back, I started a limited series in which I'd post a weekly tune that was locked into the celestial. I called it Deep Space Music. It was loosely inspired, as is much of what I do, by something a bunch of forward-thinking cats did in Detroit back in the day. In this case, it was Deep Space Radio, a series of transmissions made in the mid-nineties in which people like Derrick May and Kevin Saunderson would spin far out techno and house over the city's airwaves, culminating in Saunderson's masterful X-Mix: Transmission From Deep Space Radio mix.
My own excursion was a much more minimal affair, hosted on the old version of this very site, titled (rather unimaginatively) Deep Space Music. It involved simply tossing up one tune a week - for just under a year - from one summer to another, spanning between 2012 and 2013. The idea was that each song would flow into the next as one long suite, thematically speaking, the patchwork whole unfolding like the weekly sci-fi serials of old. At any rate, it proved to be an enjoyable exercise and hopefully tuned some people into some great music in the process.
In researching a monster piece I've been working on lately (and coming at you in the near future), I'd been digging through the interplanetary archives and - in the process - discovered a tracklist of all the tunes that featured in the series. I'd nearly forgotten about the whole enterprise, but seeing as it fits in thematically with the trip we've been on lately I thought it might be illuminating to beam the results back to earth, commenting on each selection in the process.
You'll notice that a lot of these tunes have continued to crop up in the intervening years, via mixes and even featured in The Parallax 100, which should highlight the centrality of this selection to my own musical tastes. All of these should be relatively easy to get your ears on nowadays, via Youtube or some other means (like picking up the record, perhaps), so if something sounds enticing you know what to do...
- Ashford & Simpson Babies (Dub Version) (Capitol, 1984)
- Mtume The After 6 Mix (Juicy Fruit Part II) (Epic, 1983)
- Kleeer Tonight (Atlantic, 1984)
- Drexciya Running Out Of Space (Tresor, 1999)
- Slam Visions (featuring Dot Allison) (Soma, 2001)
- Keni Stevens Night Moves (Ultra-Sensual Mix) (Elite, 1985)
- Sun Palace Rude Movements (Passion, 1983)
- Yage Theme From Hot Burst (Jumpin' & Pumpin', 1992)
- The Isley Brothers Voyage To Atlantis (T-Neck, 1997)
- The Jimi Hendrix Experience 1983...(A Merman I Should Turn To Be) (Reprise, 1968)
- Fluke Kitten Moon (Astralwerks, 1997)
- Kleeer Tonight (SA-RA Remix featuring The SA-RA All Stars & Me'Shell NdegéOcello) (Rhino, 2005)
- Octave One Nicolette (430 West, 1991)
- Joe Gibbs & The Professionals Idlers Rest (Joe Gibbs, 1977)
- Leon Ware Tamed To Be Wild (United Artists, 1972)
- Jackson And His Computer Band Utopia (Warp, 2005)
- Beanfield Keep On Believing (Compost, 1997)
- Medeski Martin + Wood Midnight Birds (SA-RA Remix) (Main) (Blue Note, 2005)
- Jay Dee Think Twice (BBE, 2001)
- Smith & Mighty DJ-Kicks/I Don't Know (featuring Alice Perera) (12" Mix 1) (Studio !K7, 1998)
- Me'Shell NdegéOcello Come Smoke My Herb (Maverick, 2003)
- Divine Styler In A World Of U (Maverick, 2003)
- The Police Walking On The Moon (A&M, 1979)
- Simple Minds Veldt (Arista, 1979)
- Dexter Wansel Solutions (Philadelphia International, 1978)
- The Steve Miller Band Sacrifice (Capitol, 1977)
- Roy Ayers Ubiquity The Memory (Polydor, 1976)
- Marvin Gaye A Funky Space Reincarnation (Tamla, 1978)
- Bobby Lyle Inner Space (Capitol, 1978)
- Psyche Neurotic Behavior (Planet E, 1989)
- The Martian Skypainter (Red Planet, 1995)
- Freq Waveaura (Matrix, 1995)
- E-Dancer World Of Deep (KMS, 1997)
- Virgo Ride (Radical, 1989)
- Dark Energy Midnite Sunshine (Underground Resistance, 1994)
- Reload Ehn (Infonet, 1993)
- Plaid Spudink (Warp, 1997)
- China Crisis Jean Walks In Freshfields (Virgin, 1982)
- Double Helix Low Key (Rush Hour, 2002)
- Kraftwerk Spacelab (Kling Klang, 1978)
- Queen In The Space Capsule (Love Theme) (Elektra, 1981)
- Mr. Fingers Stars (Jack Trax, 1987)
- Dâm-Funk Keep Lookin' 2 The Sky (Stones Throw, 2009)
- Mýa Mýa (Interscope, 1998)
- DJ Mitsu The Beats Negative Ion (featuring Ainjoy McWhorter) (SA-RA Remix) (Planetgroove, 2004)
- SA-RA Creative Partners Hollywood (Redux) (Babygrande, 2007)
The journey starts with rolling drums and guitars chiming off into the event horizon. Spacious pads with a graviational pull all their own drift through the mix, that gently chugging bassline seems to propel this ship through the vastness of space in ethereal slow-motion. Don't you know that I live for this sort of thing? This a François Kevorkian perpertrated dub of Ashford & Simpson's original (from their Solid LP), stretching it out across timespace with just a snatch of the original vocal. When Nickolas Ashford drops right into the mix, singing The love story's true, they didn't change me and you..., the track seems to stop and rebuild itself right before your eyes.
Another flipside excursion, another featuring just a snatch of vocal input and another one of my favorite songs of all time. The original has one of the great synth progressions ever, pulling you in with a gliding futuristic optimism (think Tommorowland), but this second part - stripping the track to its essentials - is true space capsule music. You find yourself waiting for the synthesized bass sound that just oozes into the track every other bar. Hearing this for the first time was one of those pivotal moments in my life, like a parallel universe unfolding before me, and everything contained within was right up my alley. I remember rustling up the album and 12" within weeks!
This tune and much of what follows are what I like to call Machine Soul, in essence a sonic strand stretching from Mtume through Model 500, into Timbaland and beyond.
This one takes me back to sun-glazed days in late summer, playing video games on the Atari 2600 (truly ancient technology by that point in the mid-nineties), tripping out to Solaris and the sound of machine rhythms in the scorching heat. This track was the basis for DJ Quik's Tonite, its rubberband, synthetic bassline spreading deep into the DNA of g-funk. True machine soul, you can picture yourself listening in some perfectly-engineered alien vessel, gliding over a neon vector landscape in the night.
Perfection in just under two minutes, this would lend itself to a killer 7" single. That's a whole category unto itself. Sounding almost as if Tonight were fast-forwarded - all sonics twisted and filtered through fifteen years of electro boogie science - the track swoops and shudders on a nimble machine-funk rhythm before dissolving into a majestic, beatless coda. You could run a starship on that. Drexciya of course representing the life aquatic, they seem to be just as much at home in the deep black of space.
Turn-of-the-century Glasgow. A killer pop song seemingly sprung from the subconscious. The atmosphere heavy like a black hole, that shrouded bassline rising from within, drawing you deeper and deeper into gravity's pull. At the center of it all is Dot Allison), serenading the night skies in a druggy murmur. The song explodes into some psychedelic vision of deep space r&b, glowing shards of funky synthetic sound spiralling off into the stratosphere, northern lights ablaze.
I've gone digital about this one before. You're gliding across the grid, vectors scrolling under a moonlit sky, landscapes parallaxing in the distance. Keni Stevens drapes his absolute smoothest, most delicate voice over an elegant neon-lit groove, all the parts moving in perfect unity. The vocal and instrumental versions of the Ultra-Sensual Mix run together on the vinyl, giving you eleven and a half minutes of supersonic pleasure.
I've noted before (another repeat!) how this record comes on like Carl Craig and Hall & Oates making music together in an elevator. I stand by that. Eighties smooth jazz isn't supposed to sound this exciting, but every element in this tune mixes together into the perfect palette and, against all odds, feels absolutely timeless. The perfect (quiet) storm.
An exclusive from the excellent Earthbeat compilation, an indispensable round-up of glistening techno produced by a pre-FSOL Dougans and Cobain. Crystalline synths drift whimsical over stuttering breakbeats, muted rave sounds trill just below the surface, with everything submerged in a deep, oceanic calm. Almost freeform in its construction, this track simply shimmers.
Why don't The Isley Brothers get more love? They're easily the equal of giants like Led Zeppelin or Stevie Wonder. What gives? They have loads of great records. This from their seventies 3 + 3 period - when the group's ranks swelled to six - in which they operated as purveyors of fine funk and peerless, sun-glazed soul. Voyage To Atlantis itself sways in stately slow-motion, exit music for a film. Cosmic, elegaic and beautiful.
Aquatic, like Drexciya, but in tune with the cosmos. Hendrix got his start playing guitar with The Isleys before going down in history as arguably the greatest guitarist of all (the Forever riff in this song is one of the most inspiring things I've ever heard done with an electric guitar). This record finds him equally adept at using the studio as an instrument unto itself, rolling various movements and spaced out interludes into a nearly fourteen-minute sonic tapestry that works seamlessly as one long, flowing piece. The result is simply breathtaking.
The better part of this album, Risotto, is pretty spaced out as a rule, and I could have used anything from the blunted black hole trip Bermuda to the alien frequencies of Reeferendum to make the same point. However, Kitten Moon eclipses all other candidates with its relentless, chugging rhythm and a drop into pure atmosphere that leaves you standing on the edge of infinity.
The original Kleeer classic (heard above) has a long history of affection among electronic funk connoisseurs. SA-RA turn in what is, in truth, more an outright cover than a remix. I love how they take the relatively minimal original - a tune that seems deeply influential to their own group's aesthetic - and go all out with it, stretching out in widescreen with a big band in tow (including the inimitable Me'Shell NdegéOcello), with no expense spared. Sparkling in the discotheque.
Octave One embody a certain sonic perfection, working out the internal logic of techno and house to arrive at a streamlined form that sounds unlike anything else. This from their classic Octivation EP, following on the heels of their debut I Believe. Detuned bleeps spill out from a low slung rhythm, the fusion of shuffling 909 beats and a wandering analog bassline, synth washes flowing beneath it all in such a way that r&b stations should've been playing it. In a word, DEEP.
Intergalactic dub reggae, sounding not unlike SA-RA holed up at the Black Ark. Hard to believe it's from 1977. Rock hard beats and bottomless bass kick into gear with siren synths blazing high up above. This from the second volume in Joe Gibbs' excellent African Dub All-Mighty series, which I was lucky enough to snag at Reggae World some years back (and just in time to spin at a New Years Eve party later that night).
Motorik machine soul from the first solo shot by this songwriter in the shadows. Think Suicide. Leon Ware growls over a chugging blues beat, rolling pianos and electronic bass that zig-zags beneath brooding verses before exploding into that near-gospel chorus. Ancient synths droning into infinity. It's all very Warp Records. Ware well-documented as a songwriting auteur, with Motown and Marvin Gaye, in particular (look no further than I Want You for the proof), benefiting from his way with the pen. Check those credits - from Quincy Jones to Minnie Riperton to The Jackson Five - he's everywhere!.
I remember being stumped as to how to follow up the previous track - so doggedly singular was that grinding tronik soul stormer - but this convoluted electro/house burner from the French auteur Jackson Fourgeaud did the trick. Intricate and overloaded, this track is - simply put - a monster. The whole of it seems constructed from shards of sound - electronic glitches and vocal snatches - shattered into a million pieces only to be reconstructed into a skewed vision of disco, churning under waves of droning sonics before dropping out into that heavenly chorus. Have you ever thought about utopia? Utterly bizarre, yet I challenge anyone not to be hooked by the second listen.
My brother Matt and I used to be obsessed with this tune. Still are, truth be told. One of my go-to tracks in defense of the practice of sampling. This tune essentially mashes up Vangelis' Let It Happen and the batucada drums from Costa-Gavras' Z (Mikis Theodorakis in full effect), filtering them through deep space sonics and winding up with something utterly singular. But where did those blues vocals come from?
More SA-RA. They're all over the place in this break out! The MMM original is a swaying mirage of interstellar exotica, but the SA-RA version takes it on a wild, tangled trip into the unknown. Busting out wrongfooted on the 4/4 - like if J Dilla made a house track - this multi-part dancefloor burner seems fueled on unstable elements, kicking into a juke joint mid-section before it all collapses inna staggering machine rhythm that just disolves into stray synths in the moonlight. The life and death of a star.
Speaking of J Dilla, this deep slab of downbeat bliss from Welcome 2 Detroit is the square root of all manner of twisted machine soul that's tumbled out of this blessed millennium so far. This could go on for hours and I wouldn't get bored. The Donald Byrd bit that goes Your love's like fire and ice, that's why we've got to think twice, followed by a little trumpet flourish, is catchier than most songs you hear on the radio. Then it flies off on a variation, the piano jukes then goes left, before once again drifting somewhere else entirely.
It's beginning to feel almost as if I subconsciously drew from this nearly forgotten list when mixing last year's Radio AG transmissions! I suppose that speaks to their closeness to my heart (aww!). This one's so tied up with my own memories and experiences that I don't know where to begin. You just want to curl up inside the warmth of this song. In the surrounding context, it plays like a companion piece to The Martian's Sex In Zero Gravity: a love from outer space.
Comfort Woman - the record from which this track springs - is on some serious Hendrix-level astral plane, its space rock dynamics swooping and shuddering in graceful slow-motion through the reggaematic machinery of dub. This is deep space as a return to the womb, and it's the swooning blur of Come Smoke My Herb that offers up the record's simplest, most exquisite pleasure: walking on air.
In between Styler's old school debut and underground return lies Spiral Walls Containing Autumns Of Light, a record that draws on space rock, industrial and fusion as much as hip hop. This tune in particular is coming from somewhere else! There's that inevitable, descending chord progression - guitars running through sheets of chorus, trilling off into delicate metallic solos - rolling drums and Divine Styler's druggy murmur at the center of it all, cut adrift in wholly expansive innnerspace.
Everybody knows this one, and for good reason. Andy Sumner's guitars chime into the endless deep while Stewart Copeland taps out a beat that seems to obey the laws of lunar gravity rather than the Earth's, and Sting sounds without a care in the world. I remember a particularly dark night back in the day when I listened to this song on repeat, non-stop until I eventually drifted off to sleep.
Early Simple Minds records are doubtless a treasure trove of weird new wave, but you'll also find some of the most atmospheric instrumentals of their era... or any other for that matter. Perfectly conjuring up visions of the titular African plains at dusk, strange shapes shifting in the darkness, this brings to mind Suburban Knight's The Art Of Stalking. I swear that you can hear mid-period FSOL in this densely articulated atmosphere. The first time I heard it, I thought What's going on now?! Today it might be my favorite thing on the album.
Philly soul craftsman gets loose in the studio, shearing into incandescent jazz funk. The song drifts in and out into radio transmissions - presumably picked up in deep space - chronicling the struggles of present-day Earth. Not much has changed! Wansel croons in silk over luminescent organs and a rubber-synth bassline, fragile and exquisite. A minor r&b hit at the time, it's a wonder this tune isn't more widely known.
Glorious tripped out pop-psychedelia from the original space cowboy. Crystalline rhodes shimmer in the moonlight over a downbeat rhythm, while Steve Miller pulls liquid shapes from his guitar and sings moody lines in the foreground. I've always been a sucker for that vibrato thing he tends to do with his voice: What a sacrifiyiyice.... This is, in essence, a jazz funk record. Which leads us into...
DEEP jazz funk. The deepest. Drawing you slow-motion tumbling into a black hole, shadows and sound swirling all around, it seems to have a gravity all its own. Feel Surreal. Those drums are rock hard, pounding a tripped-out beat while deep Moog bass textures curl beneath. Liquid keys shimmer and gamma ray ARPs stream like sunlight through the darkness. Innerspace music and subconscious soul, this track embodies the haunting words of its refrain.
Taken from Gaye's exquisite kiss off Here, My Dear. I remember buying the record thinking, Well, it's supposed to be one of his weaker ones but I love What's Going On and then being completely blown away. A Funky Space Reincarnation has Gaye drifting through images of mental deep space travel over a downbeat disco rhythm - sort of half-singing/half-rapping - commenting on the sights he encounters along the way and putting the moves on Miss Birdsong. Strangely enough, this always makes me think of those rolling ambient house numbers by The Orb like Perpetual Dawn and Toxygene, gently unfurling on an astral plane.
I first heard this in a Kirk Degiorgio mix and couldn't believe my ears. This came out when? How?? It's the secret ancestor to Carl Craig's gaussian-blurred ambient excursions like Neurotic Behavior and A Wonderful Life, and a glorious track in its own right.
Which brings us to this, which strangely had the opposite effect: I couldn't believe it had come out so recently. Breathtakingly cinematic and vast in scope, it sounds simultaneously ancient and futuristic, like a sleek alien structure that the scientists can't seem to date. I remember compiling the Parallax 100 and originally planning to include 4 Jazz Funk Classics, but just couldn't resist this record's exquisite shades and absorbing timbres. Elements is in that grey area of compilations that pull from just one or two years - see also The Three EPs by The Beta Band - but it just works too well as an album in its own right. It gets the pass! And just because his first stuff is my absolute favorite doesn't mean I don't love the rest of it... the man has gone from strength to strength, one of the most consistently compelling producers around.
Motorik deep space drive. I've been a big fan of Red Planet for ages, and if I'm not mistaken have everything the label put out (there might be a Somewhere In Detroit record lingering, I can't remember). At the time I just couldn't get ahold of the records, try as I might. I first heard this and Midnite Sunshine (and, come to think of it the very next track as well) on Submerge's Depth Charge 3, a round-up of tracks that from their extended crew. I was in heaven.
This is the other one from that compilation, although its original home was a label compilation for Matrix Records (Sean Deason's label). As far as I know, this never had a release outside those two compilations. Deason was a rising star at this time, in what was called The Third Wave Of Detroit Techno, and I snapped up whatever I could by him. When he was on, he was really on. This spaced out organ jam, a sleek Martian cousin to Paperclip People's Steam, was one of those moments.
I can now recall that there was a bit of a Detroit rally going on at this point. I was feeling good! This tune was actually featured on Saunderson's X-Mix that I mentioned above. It was hot off the presses at the time. Simply put, this is superb machine disco. Deeply psychedelic and absorbing, that bassline just takes hold. Are those synths or are they voices? You just have to close your eyes to this one.
More dazzling tronik house moves, this time by way of Chicago. Machine rhythms and a cascading bassline suck you into the pitch black, while blurred vocals invite you to take a ride. This is night drive music for a ride to Club Silencio.
This one from the awesome Dark Energy double-pack on UR. Credited to Dark Energy AKA Suburban Knight AKA James Pennington, and offering up a flipside to the paranoid dread in earlier records like The Art Of Stalking and Nocturbulous Behavior: anything is possible and the future is wide open. Inspiring stuff. There was a later Dark Energy record that was quite good as well, this time on an electrofunk tip.
Taken from A Collection Of Short Stories, which is (if I'm not mistaken) Global Communication's auspicious debut. The record is a grab-bag of disparate styles - from ambient to breakbeat techno and grinding industrial - complete with an equally disjunctured set of accompanying science fiction texts. This beauty in this track lies in its sheer inevitability as it works out its own internal logic - the synth's progression and that throbbing bassline, low-key breaks rolling beneath - its off-kilter funk running like illogical clockwork.
I've always been quite fond of this one. Its casual futurism is like viewing the Earth through a tiny portal from within the compact close quarters of the international space station... a tin can floating through the vastness of space. There's also loads of stuff by The Black Dog that I could/should have used in this list, but it must have slipped my mind.
This unlikely jewel of space music in miniature lies nestled at the end of China Crisis' debut album, Difficult Shapes & Passive Rhythms. It drops you into the shadow of a nebula and is over in the blink of an eye.
I think this one first appeared on the All Access To Detroit's Music Festivals compilation, but it later got a 12" release. A clockwork rhythm taps beneath a glowing bassline as the deepest of synths roll out into casual infinity. Strangely, this often makes me think of the spaciest precincts of China Crisis' discography (particularily Red Sails and The Soul Awakening).
These gentlemen from Cologne don't have an album dedicated to space, possibly because they already said everything they needed to within the shining six minutes of Spacelab. Partially inspired by the machine disco rhythms of Giorgio Moroder, this sounds like ambient house before house even happened.
When Dr. Zarkov's space capsule disconnects from the rocket, that guitar strum etches itself into infinity. Queen in soundtrack mode here, this is beautiful like Tangerine Dream. It's the love theme for Dale and Flash, one one level, but on another it seems to gesture toward a universal love for all of humanity (and thus makes it Dr. Zarkov's theme as much as anyone else's). Perfect music for getting sucked into a vortex, I once made an abstract hip hop track that sampled those opening synths.
Glorious early deep house from Larry Heard (a legend doncha know?). You've got this gently chugging beat, a bassline that wanders all over the spectrum and shimmering synth sequences that rotate in slow-motion lunar orbit, always threatening to slip just behind the beat but staying in perfect time. Exquisitely psychedelic.
Uptempo bizzness from the ever-reliable Dâm-Funk. Seeing him live made me realize that he's something like the West Coast equivalent to Moodymann: operating with the same vital foot in the present, informed by deep crates and a musical lineage stretching deep into the past (just swap out West Coast electro and Solar Records for deep disco slates and Motown). This is one of those moments when you realize that he's making, for all intents and purposes, techno.
Produced by Darryl Pearson, cohort of DeVante Swing (mentor to Timbaland), and the sound's rubbed off in this fragile orbital torch song. I remember Simon Reynolds, back in the day, describing how midway through the song everything seemed to rotate on its axis. There's loads of great r&b moments that happen to be built on Art Of Noise/ZTT tunes (a list in itself there), and this must surely be among the greatest.
SA-RA at their most deliriously decomposed (think Smokeless Highs and Hangin' By A String), but working with such lush source material that it manages to become a great pop moment in and of itself. Shamefully, I don't know anything about DJ Mitsu The Beats, as I only grabbed this remix EP after hearing it played out on their Dark Matter & Pornography Mixtape.
And the men themselves for the grand finale. I can't overstate how epochal this crew have been in my own musical life, like something on the level of Led Zeppelin. They managed to tie together so many strands of music that I cherish and then took them supernova. This is zero gravity r&b, and a perfect end to this unplanned excursion into deep space music.
Radio AG Episode 015: Winter 2015
It's been five years since I last did a Radio AG mixtape. This one is from a couple weeks back, and has been making the rounds in the Heights ever since. I thought I'd offer it up here just like old times. The idea is an aural representation of winter.
- The Parallax Sound Lab Radio AG Intro
- John Williams The Icy Ascent (MCA)
- Led Zeppelin Friends (Atlantic)
- Delkom Superjack (Orbital Infusion 2000) (WAU! Mr. Modo)
- Mekon Skool's Out (featuring Schoolly D) (Wall Of Sound)
- Arco Iris Es Nuestra La Libertad (RCA Vik)
- Gwen McCrae It Keeps On Raining (Cat)
- Palm Grove Twilight Run (Platos)
- Orlando Voorn Find A Way (Subwax Excursions)
- Jungle Drops (XL)
- Joe Gibbs & The Professionals Idlers Rest (Joe Gibbs)
- Radiohead Subterranean Homesick Alien (Parlophone)
- Eurythmics Here Comes The Rain Again (RCA Victor)
- LB Ashes To Ashes (Digital Spacepop Replicant) (KK)
- Tricky Bonnie & Clyde (Studio !K7)
- Ann Peebles Being Here With You (Hi)
- Piece Free Your Mind (Past) (Planet E)
- Kid Cudi Alive (Nightmare) (featuring Ratatat) (Universal Motown)
- Peter Gabriel Games Without Frontiers (Charisma)
- Gypsum 5 Hewn From Seastone (Tensile)
- Ginuwine G. Thang (featuring Missy Elliott & Magoo) (550)
- Kris Kristofferson Casey's Last Ride (Monument)
- The Byrds Bad Night At The Whiskey (Columbia)
- IAMX Missile (Recall)
- Eroc Norderland (Brain)
Welcome to the show.
From Clint Eastwood's seventies espionage thriller (also starring George Kennedy and Vonetta McGee). Winter music, pure and simple. This always makes me think of Joaquín Rodrigo's Concierto De Aranjuez. I wouldn't be surprised if John Williams had been listening closely.
On the right day my favorite Led Zeppelin song. Robert Plant bobs and weaves through the rhythm laid down by John Bonham's congas and Jimmy Page's cascading guitar, massive strings droning on the horizon (John Paul Jones is the man with the plan). Like an alternate soundtrack to John Huston's The Man Who Would Be King, this is an immense music that seems to chronicle vast regions laid out beyond the Khyber Pass.
Two German Latinos! Always loved this deranged groove from the salad days of ambient house. First heard this on The Orb's Auntie Aubrey's Excursions Beyond The Call Of Duty Part 2, purchased on the back of the stellar first volume that I'd picked up in Puerto Rico earlier that year (when it was still relatively difficult to find). Excellent music, but something seemed to have gone awry in the mastering: clipping as far as the eye could see! Scouring the bins through the years, I eventually crossed paths with the original 12".
Schoolly D never really got the production he deserved in the nineties (where the Kool G Rap treatment would have served him well). This phenomenal guest spot, from Mekon's Welcome To Tackletown LP, will have to suffice. Back in the day, I remember wishing that there was more crossover between hip hop and the big beat massive (whereas at the time it was increasingly on a sixties rock tip): MCs rocking rock hard backing tracks. Well, here's a textbook example of what I was looking for.
Soaring psych from Argentina. Rock Nacional remains one of the great unsung scenes in the rock pantheon, standing shoulder to shoulder with West Coast sixties psychedelia and often expanding on that foundation. I once saw this incredible video, which still seems to be available on Youtube, of this crew performing live in 1972 at (if I'm not mistaken) the Buenos Aires Rock Festival. Ripe for rediscovery.
From her red hot self-titled debut. Later re-released as Rockin' Chair, so named for the excellent single of the same name that was added to the record (unfortunately at the expense of the scorching Your Love Is Worse Than A Cold Love). This one's not even the best track on the album, but that Rain, Rain, Rain, Rain! bridge is an amazing bit of vocal compression.
New school techno. Perhaps even some shades of swingbeat thrown into the mix? This makes me think of some saturated, technicolor version of the movie π. I couldn't tell you the slightest thing about Palm Grove, but I do dig this sort of thing.
Orlando Voorn's resurgence in 2013 caught me completely off guard with this record (housed in a beautiful Abdul Haqq sleeve), which is quite simply a masterpiece of "big room" techno. I totally fell in love with this tech jazz breakout, the Martin Luther King/Marvin Gaye samples rendered doubly moving in the context of current events.
Hands down the best album of last year, yet I didn't see it make a single end-of-year list. Tunes seemingly worked up from pure atmosphere. I've been kicking around a more in-depth piece on this record that should make an appearance in the near future. The spectre of trip hop hangs heavy over this particular tune, with that creaking door threaded through the beat a particularly inspired touch.
Proto-digidub. From 1977! This track is simply amazing. Future shock music, sounding as if it were beamed back in time from the present day. Amorphous, off kilter synths skate across a rock hard dub riddim. From the second chapter of the excellent African Dub All-Mighty series, Joe Gibbs' phenomenal run of conceptual dub LPs from the late seventies.
Johnny Greenwood is the controller! Heh heh, always meant to pick that one up. This was a huge record for me in high school (Paranoid Android? Climbing Up The Walls?? Incredible!), even if I was a little disappointed it wasn't even more electronic than it turned out to be. You could really sense, as early as The Bends, that this group was poised to plunge into the deep end (and a 1997 Kid A would have served me just fine). In retrospect though, this is a really special record, and fit the era perfectly. This tune's crystalline zero-gravity guitar spires and soundtrack to dislocation are practically a manifesto-in-miniature for the band's whole enterprise.
The idea for this transition came to me in a December mix that I made for Sari a couple months back, the unspoken goal of which was to channel my teenage self when putting it together. So please forgive me if I reflect on those years a bit too much in this breakdown... it's been on my mind! This and the last song played back to back, plus the entirety of Underworld's Dirty Epic, tell you everything you need to know. I've always thought this tune was even better than the epochal Sweet Dreams, existing as an elegant, melancholy cousin to that tune's nasty android disco. There's also an excellent alternate version on the Lily Was Here soundtrack.
Bowie cover version by Uwe Schmidt aka Atom Heart aka Señor Coconut aka etc. etc. etc. From Pop Artificielle, a whole album of cyborg cover versions. Hard to believe this came out as early as 1998, prefiguring as it does the next decade-plus of pop music.
From the truly excellent False Idols, Tricky's second most recent full-length. I think this is also his second best record after Maxinquaye, and it's a much tighter race between the two than you would think. If I were a teenager coming up nowadays I'd probably like it even better. A drastically different record though, spare and stark compared to Maxinquaye's blunted psychedelia.
Her excellent run of seventies records are the sister to Al Green's. A lazy comparison perhaps, but so apt. Both were released on Hi Records and carry the storied hallmarks of Willie Mitchell's warm, lush production.
Carl Craig's hip hop record, a downbeat cousin to his 69 output. I first heard this on the Intergalactic Beats compilation, an exceptional selection of techno from the early days of Planet E. For me, a Back To Mine record.
Kind of a recent one. This album blew me away when I first heard it, making me flash on things I grew up with like A.R. Kane and The Hurting by Tears For Fears. This particular beat might be the warmest on the record, and I could swear the instrumental shares a bit of vibe with Another Green World. I'm jealous of people who were 15 when this dropped.
This tune's cut from the same cloth. I've often thought the first four untitled Peter Gabriel records continued the good work Eno, Bowie and Pop did in Berlin. This is another one from my youth: back in the day I could point to it and say this is the sort of stuff I was into. It even sounds like a 90's record, proto-trip hop or even a certain shade of r&b, Gabriel basically raps the lyrics. The guitars here cut shapes out of atonal noise rather than anything approaching a melody, and Kate Bush on the hook (I got into her music through this tune) sounds sublime as usual.
Just a tiny shard of isolationism from this quintet from up in the mountains, dragging everything down to a crawl with what sounds like a lonely TR-505 rhythm.
Timbaland tearing it up on the back of a Portishead sample. R&B, trip hop and rap... at the time, I heard a lot of this stuff in the same way: as heavy atmospheric music, often with a dread shadow hanging over the proceedings. It was all of a piece, and I'd offer up this sharp little tune as Exhibit A.
Outlaw country from the storied songwriter's first LP, a stone cold classic. Dead end music, keeping the dread fires burning strong, this tune is a runaway train that rides a booming beat off the rails and into the darkness.
The MKII Byrds are so underrated. They could sometimes be a sloppy bunch, but they'd nearly always make it worth your while by veering out into leftfield. Case in point, this song is perfect. Perfect! That slow motion breakbeat! I've never before heard a better aural representation of being totally, hopelessly wasted, stumbling through a room's chaos as if submerged underwater. This and Willie Nelson's Whiskey River both epitomize this aural hallucination I've often had when driving out beyond Ramona and into they valley of Santa Ysabel of a krautrock-inflected form of country music.
Chris Corner's first solo shot after the dissolution of the Sneaker Pimps. One of today's great unsung vocalists, coming on like some unlikely fusion of Marc Almond (in sound) and Scott Walker (in spirit). The later Sneaker Pimps records were already growing darker, but his solo material really took a turn. Just unhealthy music, you want to grab a blanket and take the man in from the rain... although I can't say I haven't felt this way for a good chunk of my own life. This tune would easily make a shortlist of my favorite songs of the century (so far).
And a bit of dialogue from Star Trek V: The Final Frontier. There were two great moments in this relatively sub-par film: when Kirk says I've always known that I would die alone, and this one (I need my pain!).
Monumental krautrock. Bringing it all back home. Another alternate soundtrack proposal, this time to Il Grande Silenzio. This is massive, widescreen music, blazing its way through ice-covered mountains and over bottomless chasms. You're crawling through the snow, blizzard cutting straight through you. There's nothing left, you feel as if you couldn't press on any further, but you dig deep within, and...
This all germinated from an exchange between Sari (my wife), Andrew (my brother) and myself in which we each compiled our top 100 records of all time and then had a little party to review the lists while listening to bits of the records in them. It was a great excuse to talk music and I daresay that we all had a blast trawling through each other's favorites. It was during the process of putting together my own that my love for writing about music began to rekindle and I vowed to myself to bring back this site. I suppose then that it's only appropriate that I use it to kick things off again here at the Parallax Room.
This list represents my absolute favorite one hundred records of all-time, including albums, EPs and singles. Truth be told, a couple borderline compilations sneak in too! The idea was to select the records that essentially form my musical bedrock, the very core of my taste in music, and in a sense, the lense through which I tend to hear everything else.
It can be so tempting to only include influential, important records, to lean too heavily on the accepted canon of (insert genre here) classics rather than those records one actually loves most. The flipside of that coin is to veer too deeply into the obscure, or all those neat little records one discovers along the way. I found that the trick was to ruthlessly select (from my initial pile) only the records that: 1. Had a crucial impact on me (be it immediate or gradually, over time), 2. Are front-to-back amazing, and 3. I still listen to all the time.
This narrowed the field considerably, but there were still about a dozen too many records. Eliminating those was probably the most difficult part of the process, but its amazing just how much the list started to write itself at that point. To be honest, it was a bit of rush seeing it all come together. The result is a deeply personal selection, but I think that's the only way to go. In the end, I can promise you that every record here is a stone cold killer...
100. Heldon - Électronique Guerilla
French synth wizardry from Richard Pinhas on Heldon's first odyssey, the driving pulse of which marks it out as a remarkably physical permutation of space music proper. Tracks like Back To Heldon and Northernland Lady seem to soundtrack actual landscapes you could touch and feel, wander and get lost in. Gilles Deleuze even makes a cameo on Ouais, Marchais, Mieux Qu'en 68 (Ex: Le Voyageur), the one track to feature the band in full.
99. Man Parrish - Special Disconet Mixes
(Ram's Horn: 1983)
Man Parrish produced loads of great records throughout the eighties, but this wildly mutated remix of Hip Hop, Be Bop (Don't Stop) is a multi-jointed electro monster. Its rubberband bassline and depth charging 808s are remarkably loose within the context of electro, a genre typically defined by it's (intentional) rigidity.
98. Baris Manço - 2023
Psychedelic, spaced out funk from this giant of Anatolian music. Occupying that nexus between acid rock and straight up prog (think Paul Kantner's Blows Against The Empire), it bests all other contenders by merit of its singular sound and vision. Those massive, supremely deranged synths come as an added bonus.
97. Azealia Banks - 1991
The greatest record to come out of the perennial clash between house and hip hop, a sound that has remarkably crashed back into the mainstream over the last five-odd years. The vibe here brings to mind certain records on the Strictly Rhythm imprint, also things like Hateful Head Helen, but the whole of this EP is thoroughly up to date and leans brashly toward the future.
96. Howlin' Wolf - Howlin' Wolf
The Rocking Chair Album. By my estimation the wildest electric blues LP, even outstripping his own supremely fuzzed out work on Chess' head-oriented subsidiary Cadet Concept. Wolf here sounds hungry as he attacks each tune with the ferocious charm he was renowned for, wrestling their melodies into a dense, churning turmoil of rock hard rhythm and blues.
95. Grace Jones - Nightclubbing
One of the many great records laid down in Nassau by the brilliant Compass Point All Stars, this one benefits from Ms. Jones' compelling presence front and center. Splitting the difference between disco, post punk and dub, this is pristine, chrome-surfaced boogie on ten-inch rubber wheels. Just given the lavish Deluxe Edition treatment as well, with an unreleased cover version of Gary Numan's Me! I Disconnect From You tossed into the bargain. Grace's music is essential.
94. Tiger - Me Name Tiger
Digital dancehall. Generally recognized as a genre best served by the 7" single, this sterling LP is an exception to that rule. Tiger himself is responsible for just about every element on the record, from the toasting on down to the beats, resulting in a super-tight - and endlessly playable - ten track selection on which his larger-than-life personality shines immensely.
93. Nav Katze - Never Mind The Distortion
Japanese pop outfit remixed by the early heavyweights of British abstract techno: The Black Dog, Aphex Twin, Ultramarine and Global Communication. The ladies' heavenly vocals weave through these warped re-workings of their original compositions, informed by the curious slant that each producer brings to bear on the material. Truly otherworldly in every possible sense, the results simply sound like nothing else around.
92. Mulatu Astatke featuring Fekade Amde Maskal - Ethio Jazz
Ethiopian Jazz. Discovered this via the excellent Éthiopiques series on Buda Musique and just had to track down the original LP. Mulatu's band so fluid here, the murky soundscape so dense with rich detail, that the record itself seems to conjure up a ghostly mirage of some smoky dancehall in Addis Ababa, thick with atmosphere and hovering three feet off the ground.
91. N-Tyce - Hush Hush Tip
(Wild Pitch: 1993)
Wicked downbeat hip hop on the cusp between day-glo jazz rap and the dark blunted zeitgeist just around the corner (see Black Moon, Cypress Hill and the Wu-Tang Clan - the RZA and 4th Disciple of which actually produced this record), and managing to deliver the best of both worlds. N-Tyce's flow is smooth as can be and Method Man on the hook a particularly inspired touch.
90. Mark Stewart + Maffia - Mark Stewart
Sampladelic, hard-edged post punk. The Maffia backing is incendiary and Mark Stewart explosive, veering between rage and sadness in equal measure. Also notable for spawning Stranger Than Love, the dub of which was perpetrated by none other than a very young Smith & Mighty. Indeed, pre-echoes of nineties Bristol seem to reverberate throughout the entirety of this fierce, uncompromising record.
89. Althea & Donna - Uptown Top Ranking
A peak-period Joe Gibbs production that leaps out of the speakers with a rude zig-zagging synth and rock hard backing by The Mighty Two. Althea & Donna still manage to steal the show with their raw, infectious delivery on this absolutely massive (#1 in the U.K.!) pop reggae number. I've often thought that this tune must have had a profound shaping influence on The Slits, in both sound and spirit.
88. War - The World Is A Ghetto
(United Artists: 1972)
Strung out fourth world voodoo funk. Captures that feeling in late August when summer's lost its luster and seems like it's never going to end; sun-glazed buildings and steam rising off the streets. A definitive L.A. record, if I may be so bold. The band's interplay here so dexterous (City, Country, City) and group chants so obsessive (Beetles In The Bog) that nearly every tune feels like a mantra. This is my Marquee Moon.
87. Black Riot - A Day In The Life
(Fourth Floor: 1988)
Seminal N.Y. House and Todd Terry's finest moment of patchwork brilliance. Owing to his background in freestyle music, he was the first house producer to truly grasp the possibilities of hip hop and consequently seemed to approach all of his early traxx with a wildstyle mindset. This was already over a decade old (an eternity in the nineties) by the time I first got to hear it, but it blew my mind nonetheless. If there's one record that I'd like to think my life sounds like, this is it.
86. Thomas Leer - 4 Movements
(Cherry Red: 1981)
Globetrotting synth pop from one of the pioneers of the form. Looking past the gloriously icy climate of his peers (this the era of Gary Numan, Fad Gadget and The Human League), Leer establishes a warm and astonishingly nimble sound here. Splitting the difference between Kraftwerk and Tonto's Expanding Head Band, while adding a bit of eighties pan-global jet set atmosphere for good measure (think Club Paradise and Jewel Of The Nile), this plays like a Balearic record out of some parallel universe. In ours, it wouldn't even occur to people to make something like this until about fifteen years later (see Jimi Tenor, Patrick Pulsinger, Uwe Schmidt et al.). Utterly indispensable for any electronic pop lover.
85. Motörhead - Motörhead
Bracingly intense, white-knuckled biker metal. Despite their reputation as speed-metal pioneers (their very name a slang term for speed freaks), on this, their very first record, the hangover of hard rock's James Brown-as-played-by-cavemen beats endures, informing the entirety of its blistering mid-section: one of my favorite rock 'n roll trips of all time, sounding like a two lane stretch of highway cutting deep into the Mojave desert.
84. Underground Resistance - Riot EP
(Underground Resistance: 1991)
UR in their undeniable prime, back when Jeff Mills and Rob Noise were still kicking it in the group with Mad Mike Banks and the crew came off like Detroit's very own Public Enemy. I love nearly everything they've put out, from space jazz to computer-age electro to no-nonsense techno - all of it was extraordinary - but they never hit harder than when they were intensifying Belgian hardcore. On the Riot EP, UR's conceptual brilliance collides with their Hard Music From A Hard City aesthetic, resulting in their definitive statement.
83. Billie Ray Martin - 4 Ambient Tales
In which the German dancefloor chanteuse collaborates with The Grid for a double-EP of ambient blues. In the process, she briefly inhabits - maybe even invents - the role of ecstasy age post-canyon troubadour (amplified here by the presence of BJ Cole on pedal steel), fragile and coming down from the shattered heights of the rave dream. This fertile landscape would eventually provide sanctuary to artists like Beth Orton, Dido and Dot Allison, while stretching outward to color the sensibilities of projects like Broadcast and The Beta Band. The results here are as true to her vision of dark electronic soul as she would ever get and practically define the word majestic.
82. The English Beat - I Just Can't Stop It (U.S. Version)
New wave ska-pop, played with clockwork precision by The Beat. Tropical, breezy numbers like Hands Off... She's Mine and Rough Rider rule the day, although there's a definite undercurrent of dread beneath all of this day-glo pop, rising to the surface in Twist & Crawl and even Mirror In The Bathroom's unresolved paranoia. The U.S. version of this record is the one you want, as it includes two crucial extra cuts: Ranking Full Stop and a cover version of The Miracles' Tears Of A Clown, both of which add an extra dimension (and loads of charm) to the record.
81. SA-RA Creative Partners - Cosmic Dust/Cosmic Lust
(Jazzy Sport: 2005)
Machine Soul twisted to the nth degree. SA-RA were often at their best when they didn't even seem to be trying, and this two-part EP (that only ever surfaced in Japan) might be the best example. Instrumentals like Jumbo and Enter Sex Slop beam two decades worth of hip hop-infused r'n'b into deep space, while Love Stomp and Wonderful (the alien descendent of Stevie Wonder's 70's records) ply a sort of warped astral jazz. And the two ballads (sung from a space capsule), Intoxicated and We Can Do Anything, stand among the finest songs they've penned. It's a shame that Butterscotch (aka Frequencies), possibly their single greatest moment (and one that would have felt right at home in this company), remains unreleased.
80. Thelonious Monk - Genius Of Modern Music, Volume One
(Blue Note: 1951)
Early works by the jazz giant, recorded during his very first sessions as band leader. This well before his stellar run on Riverside and Columbia, which resulted in a flurry of great albums like Brilliant Corners and Solo Monk. Captured here is the initial supernova that eventually went on to generate those later works, shining as they do like stars in the firmament. A wild and intensely cerebral vision of jazz that finds careening bebop taken to logical abstraction.
79. Manuel Göttsching - E2-E4
(Inteam GmbH: 1984)
Manuel Göttsching, Krautrock guitarist extraordinaire, creates one of the great synth lines and then proceeds to construct an hour-long jam around the ebb and flow of his machines. The result is a marathon of spaced out proto-techno that gradually seemed to weave its way through the very DNA of electronic music in the ensuing decades. I first heard him on Terranova's Tokyo Tower way back in good old 1997, and he's remained one of my favorite guitarists ever since. His guitar sound here, as always, is exquisite.
78. Romanthony - The Wanderer
Definitive statement from one of garage's true auteurs. This is supremely lush and soulful. A saga spread across four radically different versions, each managing to simultaneously contrast and complement the other, with the hypnotic electro pulse of CD Remix #9 and Fusion Dubb's cascading instrumental bliss running perpendicular to the wild pitch madness of Let Da Rhythm Move U, while the opening Journey Man Thump itself is extraordinarily haunting.
77. Associates - Sulk
A luminescent nocturnal paradise, and the precise point of intersection between post punk and new pop. Alan Rankine and Billy MacKenzie drape sheet after sheet of sound onto a staggering pileup of impenetrable texture that they somehow manage to mutate into a breathtaking sequence of fully formed, brilliant tunes. Billy MacKenzie's soaring, operatic vocals are about the only ones you could imagine successfully cutting through these densely populated soundscapes.
76. Mental Cube - Chile Of The Bass Generation
A pre-Future Sound Of London Dougans and Cobain get down to business with the title track, a rolling breakbeat monster, but the centerpiece is undoubtedly Q, an absolutely gorgeous peak-era rave anthem. As great as all of their later FSOL output was (Accelerator and ISDN among my favorites), their early records have a certain ravishing intensity, a rough-hewn charge, and this one is their masterpiece.
75. Fela Ransome Kuti & Africa 70 - Expensive Shit
(Editions Makossa: 1975)
Afrobeat icon's mightiest record, from that blistering offensive he ran during the seventies, a period when the man was simply a force of nature on a serious roll. The title track was inspired by a police raid on the Kalakuta Republic (the story of which is the stuff of legend), but it's the insouciant brilliance of b-side Water Get No Enemy that quietly sneaks up to steal the show and push this record out above the stiff competition. As the man once said, Music is the weapon of the future.
74. Chic - C'est Chic
The quintessential disco LP, and possibly the greatest, catches The Chic Organization in the middle of their late 70's winning streak: a period when they could do no wrong. It's lush, peak-era disco like Happy Man and I Want Your Love (not to mention the immortal Le Freak) that seem to be the obvious bounty here, yet the leisurely Savoir Faire (sounding like a lost instrumental from the Super Fly soundtrack) and gorgeous balladry of At Last I Am Free - almost undisclosed moments of pure elegance - match all those songs for beauty, with everything blending together to make this record such an undeniably strong one.
73. Herbie Hancock - Sextant
Pure, elemental space jazz, in which gravity simply ceases to be a factor. This is the gateway record between Mwandishi's longform electric grooves and the full-on jazz funk of Head Hunters. The presence of one Dr. Patrick Gleason, working the ARPs, pushes this recording into the realm of pure tech jazz. A delirious odyssey into the deep black void of space and an obvious ancestor to later like-minded projects such as Galaxy 2 Galaxy, Innerzone Orchestra and Fretless AZM.
72. Roy Harper - Stormcock
Four elegiac folk suites that burn with a white hot intensity. Everything here suffused with heartache and dread, yet staunchly refusing to ever fully give into the darkness. Harper's mournful vocals and spidery guitar weave their way through the orchestra's towering Gothic architecture, these great vaulting spires from which one can but observe the rolling, desolate tundra laid out below.
71. Kemet Crew - Champion Jungle Sound
Categorically fierce ragga jungle from the golden age of rinsin' amens. Masterminds James and Mark X took the proper name for ancient Egypt to christen both their label and crew, all of whom are present here (plus Remarc, in a blistering cameo appearance). Tearing breakbeats are the order of the day, with subsonic bass charges and a militant atmosphere pervading the whole of this furious, uncompromising LP.
70. Kelela - Cut 4 Me
(Fade To Mind: 2013)
Dreamy post-grime r'n'b, moments of which make me think alternately of Detroit and The Prodigy. This a three-way collaboration between the Fade To Mind and Night Slugs crews (both dealers in dark electronic instrumentals) and Kelela, who lends her ethereal vocals to these already otherworldly backing tracks. The whole affair feels deeply surreal, as if this were a music heard through the lingering mists of a dream. Technically a mixtape, as an album-length statement it excels.
69. Wreckx-n-Effect - Rump Shaker
New Jack Swing. Teddy Riley's greatest moment, the Teddy 2 mix far superior to the album version. With the inclusion of that piano twinkling on the breeze, easing the tension of an interminable sax line from The Darkest Light, the whole thing is pushed to perfection as the groove's mesmerizing sway begins to lift into low orbit. I remember hearing this on the radio for the first time, as an 11 year old, and thinking that it sounded like a mirage in the desert (pyramids and palms dancing on the horizon). It wasn't until I finally tracked the record down, years later, that I realized what the song was actually about!
68. Virgo - Virgo
Sublime deep house from Chicago. Simply perfect, everything in its right place. Do You Know Who You Are and School Hall are among the most achingly beautiful songs ever written, while Ride and In A Vision map infinity: true hall of mirrors music. I'd been into house music for ages before finally managing to discover this thanks to a hot tip from Woebot, whose exceptional writing about music was a revelation, and for that I will forever be grateful.
67. Elton John - Tumbleweed Connection
Elton and Bernie Taupin, at this point still firmly in singer-songwriter mode, deliver their country western concept album. Almost musical-esque in execution, each song seems to follow one character while the next will drift on to focus on another (I've always recognized a kindred spirit in Come Down In Time). A front to back masterpiece with some of their most glorious songs; that it's almost obscure these days is a shame.
66. Don Cherry - Don Cherry
A dense, hallucinatory vision of fourth world jazz. Don Cherry's crystal-clear tone cuts through this mercurial brew of boundless depth, a mesh of struck bells, electric piano, tambura, bass and percussion. Pure Ocean Of Sound music. Frank Lowe's presence here a revelation, his pellucid tenor licks shimmering like the very surface of the water.
65. Wailing Souls - The Wailing Souls
(Studio One: 1975)
Superb roots reggae LP on Coxsone Dodd's Studio One imprint. The Wailing Souls are one of the mightiest vocal groups of all time, their harmonies among the great elemental sounds in music, managing to effortlessly capture the feeling of pure joy and then whip around to endless longing in but a moment.
64. Sun Palace - Winning
Eighties jazz funk one-off. It's 1981: Keith O'Connell and Mike Collins, two British session men, get down in the studio with a Prophet 5 synth, Fender Rhodes, CR-78 rhythm box and electric bass, churning out this motorik bit of smooth jazz onto a demo tape and sounding completely out of time (think Hall & Oates and Carl Craig stuck in an elevator, making elevator music, and you won't be far off). The duo spent years trying to get a label to release it, until Passion Records (the soon-to-be parent label of Jumpin' & Pumpin') finally pressed it to wax directly from the original demo tape and gave them the epic name Sun Palace. The record wound up as a Loft Classic, and the rest is history.
63. Kelis - Wanderland
Remarkably flawless longform work of pristine machine soul, produced by The Neptunes just as they were surfing their creative peak and released a matter of months after the first N*E*R*D album. Like the original electronic incarnation of that record, it was tragically buried at the time (never even receiving a U.S. release in this case). Still, a bunch of us bought the imports and played them obsessively. Of all the vocalists that The Neptunes worked with, Kelis always seemed to best articulate the Star Trak vision - that intriguing mix of stoned ennui and star-child optimism - and nowhere better than on this record's cosmic denouement.
62. Octave One - The Living Key (To Images From Above)
(430 West: 1997)
Moody, half-lit Detroit techno. This album links together two EPs from the preceding year: The Living Key and, you guessed it, Images From Above, tacking on the absorbingly lush Burujha to round out the set. Not a famous record, but an essential one. The sound that the Burden Brothers achieved during this era is utterly captivating: arcing fractals of percussion entwine mathematically precise drum patterns while shards of synthetic texture pierce vast burnished soundscapes, splashes of melodic color drifting wraithlike out of the darkness. Every element so modest, so low key, yet the combination is ruthlessly magnetic.
61. Genaside II - Narra Mine
(Hardcore Urban Music: 1990)
An absolute beast of a record, in which monumental waves of pressure build and build over endless, rolling breakbeats. Narra Mine is a lavishly melancholic stretch of widescreen ardkore, while the flipside's nightmare strains of urban paranoia rise like steam from twilight city streets. Guns of Brixton, indeed. Sharon Williams wails like a banshee and Killerman Archer's maniacal, rapid-fire toasting amplifies the tension every moment he's on the mic. Pure dread.
60. The Velvet Underground - The Velvet Underground
Sixties garage rock from New York, made gently with liquid guitars. Where the Velvets' rockers used to pound, they now glide smoothly, with gorgeous folk numbers being the order of the day. The Murder Mystery, their final concession to the avant garde, is an engrossing dive into the subconscious.
59. Françoise Hardy - Françoise Hardy
Breezy French pop, and one of the greatest pure pop records ever. Sounding like ribbons of sunlight shimmering through stained glass, this is daydream music to fall in love to on a summer afternoon. The reluctant icon is accompanied here by the Charles Blackwell Orchestra, whose inventive flourishes provide a swooning, sumptuous palette of sound for Hardy to wistfully inhabit with inimitable style and grace.
58. Antonio Carlos Jobim - Jobim
Lush, haunting orchestral environments crafted by bossa nova's greatest composer. A seventies record through and through, this is an incredibly heavy listening experience. Songs stretch out over vast uncharted terrain, every corner of the soundscape cloaked in rich detail. There are entire worlds transcribed within the grooves of this record.
57. Martin Circus - Disco Circus
French disco, prefiguring the likes of Daft Punk and Cassius by some fifteen years. Martin Circus were a rock band that drifted into disco's orbit for a couple albums, one of which spawned the original fourteen-minute version of this tune. Here, it gets reworked by the legendary François Kevorkian into a dazzling maximalist affair, crammed with nearly every sound you could imagine and capturing disco's essence within its shining seven minutes. The b-side, I've Got A Treat, is an infectiously sleazy bit of motorik Euro-disco.
56. Prince - For You
(Warner Bros.: 1978)
Half-lit bedroom disco from the nascent superstar. Maybe not as spectacularly widescreen as his staggering run of eighties records, there's still something very special about the sound here that draws you in. In Love and Soft And Wet have a deft, almost dainty, rhythmic touch to them, while ballads like Crazy You and So Blue sound improbably low key amidst his considerable slow jam repertoire. The undoubted climax is I'm Yours, an epic prog/funk workout that closes out the record in a thrilling crash of thunder, pointing gamely toward the future.
55. UGK - Ridin' Dirty
Bun B and Pimp C loom large over the history of Southern rap, having been in the game since virtually day one, and Ridin' Dirty is their ornately detailed masterpiece. The whole record glides in graceful slow motion, Pimp C and N.O. Joe's velvet-cushioned production forming a plush foundation for UGK's elliptical rhymes to dance over. An affinity with one DJ Screw can be felt throughout the blurred, spectral grooves of this LP, and nowhere more than the ghostly twilight vision of 3 In The Mornin'.
54. John Coltrane - Sun Ship
Late-period Coltrane. These sessions, from 1965 (although the record itself was only posthumously released in 1971), are among the last to feature his classic quartet with McCoy Tyner, Jimmy Garrison and Elvin Jones. True space jazz in every sense, with Coltrane blasting through the stratosphere, slipping into zero gravity and back again as Elvin Jones pounds out the propulsion for this interplanetary starship's travels.
53. Zap Pow - River
(Zap Pow: 1977)
Psychedelic dub reggae 7", produced by Lee "Scratch" Perry at the Black Ark and at the peak of his powers. This sun-baked, hallucinatory underwater excursion seems to rise from the immense bass pressure of the titular river's bed, where everything churns and tumbles in a great slow-motion whirlpool, sucking you ever deeper into the hypnotic abyss.
52. Led Zeppelin - Led Zeppelin III
Legendary rock band at their most arcane and mystical, veering from the hard blues of their first two records into a sort of unheimlich folk balladry. The proto-metal is still there - Immigrant Song, Celebration Day and Out On The Tiles - but now filtered through a medieval lense only occasionally hinted at before. That's The Way and Tangerine are two of their most bewitching acoustic numbers, while the majestic sway of Friends remains my absolute favorite moment in their oeuvre.
51. Shivkumar Sharma - Raga Madhuvanti
This mesmerizing Indian classical recording is quite simply magnificent. Shivkumar Sharma a true visionary and master of the form. His playing on the santoor never fails to be thoroughly captivating: hearing him work his magic is like watching someone coax time to a standstill. The added touch of those flickering, gently swaying rhythms make this my absolute favorite record of his.
50. David Bowie - Low
(RCA Victor: 1977)
Bowie in Berlin, taking on aspects of minimalism and Krautrock while transforming his plastic soul sound into something even more robotic in the process. Side one is crammed with strange, paranoid pop songs and shimmering instrumentals, while side two stretches out into an ambient landscape of Europe endlessness. This era of Bowie's (detailed in Bowie In Berlin: A New Career In A New Town, an excellent read) is ceaselessly fascinating to me, and remains a conduit to so much amazing music, amidst which this record more than holds its own as a masterpiece.
49. Eddie Palmieri - Exploration: Salsa-Descarga-Jazz
Far-out salsa, shot through with an unyielding sense of cosmic jazz exploration. Eddie Palmieri, often referred to as the sun of Latin music, has a great many first-rate records to choose from, but this one is my favorite (with Vamonos Pa'l Monte running a close second). Pulling together some of his wildest studio experiments (Cobarde's crazed ten minute salsa pulse and the almost modern classical Random Thoughts) with marathon live workouts recorded at the University of Puerto Rico (Chocolate Ice Cream and The Mod Scene), this record essays some of the man's outermost sonic precincts. Those improbable zero-gravity breaks on Condiciones Que Existen's low-slung barrio funk are a particularly impressive touch.
48. Billie Holiday - Solitude
Gorgeous vocal jazz shearing into proto-soul territory. Having informed so much great music throughout the years, it still remains entirely unmatched on its own terms. The very sound of this record is enchanting, infused as it is with pure depth and splendor. Billie Holiday, here still clear-voiced and resplendent (before the ravages of time and hard living took their toll), remains the greatest vocal presence jazz has ever seen. A record to lose yourself in.
47. Psyche/BFC - Elements 1989-1990
(Planet E: 1990/1996)
Majestic early techno relics from Detroit's Carl Craig, back when he was just a fresh-faced kid trying to make his mark on the culture. Each and every track would be a highlight in any other context, while in present company they all flow into one extended hypnotic sequence. Moody dancefloor burners like Crack Down and From Beyond flow effortlessly into the glorious breakbeat release of Please Stand By and out toward the elegiac ambient house of How The West Was Won, while the peerless Neurotic Behavior still sounds like a record from another age... wholly timeless and too magnificent for words.
46. Suicide - Suicide: Alan Vega · Martin Rev
No Wave duo get atmospheric with Ric Ocasek in the producer's chair, stretching the sounds of the debut's most sumptuous passages out across the entirety of their second full-length. Diamond, Fur Coats And Champagne sets the stage with a casually ethereal groove, while the duo map their sound's spaciest precincts in the eerie freeform calm of Las Vegas Man and Harlem.
45. The Isley Brothers - The Heat Is On
Long-running legends riding the crest of their mid-seventies 3 + 3 era, arguably the band's peak. Prefigures Bowie and Eno's Berlin-era methodology, in which the uptempo numbers fill out side one while the second is given over to pure atmosphere: in this case melting into a sidelong mix of ambient soul, the ravishing synths of which are exceptionally lush and sun-glazed.
44. Brian Eno - Before And After Science
Speaking of which, Eno's Berlin-era album is absolutely essential listening, of a piece with his earlier classic Another Green World (a crucial record for me, just barely outshined by this one). Here, Eno examines the lush vegetation of that world from an entirely different perspective: that of the laboratory (the domain of science), and the elegant precision exercised therein is thoroughly modern. Even as strange almost-pop songs gradually give way to pure ambience, the former seem to inform the latter (and vice versa), melting together in a state of perfect harmony.
43. Arthur Russell - In The Light Of The Miracle
(Talkin' Loud: 1995)
By my estimation Arthur Russell's finest moment, fusing the introspective nature of his World Of Echo material with the strange propulsion of his leftfield disco records like Let's Go Swimming and Wax The Van. This is a vision of the dancefloor that stretches far beyond the walls of the city, out across the great plains and into the deep blue horizon, spreading joyously outward as far as the eye can see.
42. Louis Armstrong & Duke Ellington - Recording Together For The First Time
(Roulette Jazz: 1961)
Two old timers who've seen it all finally get a chance to meet up in the studio, laying down crisp re-workings of a bunch of classic Ellington-penned numbers. This is quite possibly the purest glimpse into the very essence of jazz ever put to tape. Even as these two legends swing together like it ain't no thang, they sound for all the world like they're jamming in orbit on the space station.
41. Simple Minds - Real To Real Cacophony
Weird new wave. Literally overflowing with ideas and travelling in every direction at once. Spiky rockers like Citizen cut their way out of the murky depths even as moody instrumentals like Film Theme revel in them, while mid-tempo club burners like Premonition crop up to inhabit the space between. Veldt, a maddening slice of pure atmospheric paranoia, even breaks out into a pleasantly menacing skank. For me, an unquestionably crucial record.
40. James Brown - Hell
The godfather's dense double-album, rife with an overwhelming sense of seventies dread, yet at the same time home to some of his most gorgeous ballads. The fourteen-minute closing stretch of Papa Don't Take No Mess, one of his greatest extended workouts, is an obvious standout, while the Latin-tinged reworking of Please, Please, Please a hidden gem that hints at the remarkable breadth of this LP. I can't think of another record remotely like it.
39. Jungle Brothers - J. Beez Wit The Remedy
(Warner Bros.: 1993)
Skewed hip hop from this visionary Brooklyn crew. If their first LP gave birth to the Native Tongues era then this one effectively laid it to rest. Decomposed beats, subsonic bass pulses and random machine bleeps punctuate these gaussian blurred samplescapes within which Eugene McDaniels and Public Enemy rub shoulders with The Stooges. The results are a kaleidoscopic hallucination of hip hop: bizarre, druggy and in the end, their crowning achievement.
38. SWV - Can We
Nineties r'n'b. A glistening, four-dimensional soundscape that seems to morph and gyrate like liquid clockwork. Here, the swingbeat girl group hook up with Timbaland and Missy "Misdemeanor" Elliott (at an early peak, when everything they touched turned gold) to produce this casually futuristic one off - and a highlight for all parties involved - realigning SWV for the chrome age.
37. Moodymann - Black Mahogani
Sub-conscious deep house, where the border between electronic and live instrumentation decomposes to the point that its hard to tell where the programming stops and the band begins. I'm Doing Fine embodies this seamless symbiosis, while the juke joint boogie of traxx like Shades Of Jae and Back At Bakers (On Livernois) form a perfect counterpoint to the spectral jazz found in Holiday and I Need You So Much. Riley's Song, no more than a bassline groaning in slow motion beneath layers of ghostly atmosphere, nearly manages to steal the show, while the Mahogani 9000/Black Mahogani suite that closes the album (and memorably quotes Eddie and Priest from Super Fly) could go on forever and I wouldn't mind.
36. Ray Charles - Yes Indeed!
The original soul man's second full-length is an indispensable glimpse into his signature vision of rhythm & blues. Exquisite backing vocals from the ever-reliable Raelets add a swaying finesse to this already remarkable material, sweeping from the spectral crawl of It's All Right to the carefree shuffle of Swanee River Rock, through the rave up threat of Leave My Woman Alone and on to the back door blues of Blackjack. The all-encompassing breadth of vision outlined in this sequence of fourteen flawless tunes is truly staggering.
35. 4 Hero - Parallel Universe
Dego and Marc Mac, operating out of their studio in Dollis Hill (located next door to The Future Sound Of London's), charted rave's trajectory from the intensity of its hardcore origins through the depths of the darkside, ultimately arriving at this distant outpost of interplanetary jungle. Yet even as they connect with the lush space jazz of Galaxy 2 Galaxy and Herbie Hancock, they still manage to retain the rhythmic danger from even the most twisted of their earlier records. If anything, that fury gets amplified in Wrinkles In Time and Sounds From The Black Hole: astonishing displays of breakbeat science as you're ever likely to find.
34. Scott Walker - Scott 4
Avant garde crooner's finest moment. An existential rumination on the certainty of death and dues, and a flawless work of orchestral grandeur. The Seventh Seal and The Old Man's Back Again are so majestic that they practically beggar belief on first listen, while the fragile moments (Boy Child, Duchess) are among the most exquisite songs he's ever written.
33. King Tubby - Dub From The Roots
(Total Sounds: 1974)
Awesome dub reggae LP from this pioneering architect of the form. The drums splash, the hi-hats skip and the bass cuts massive caverns beneath a soundscape in which everything exists as texture. This is a dusty, planet-shaking sound: simultaneously futuristic and ancient. Invasion, kicking off with those rude synth bleeps, could soundtrack the boarding of Zion in William Gibson's Neuromancer. In a word, massive.
32. Captain Beefheart & His Magic Band - Safe As Milk
The fabled outsider checks in with his first LP of abstract blues, burning with raw garage punk fury and a set of unforgettable tunes. A remarkably early intervention for this sort of rootsy swagger (The Stones still mining psychedelia in '67), at times so dynamically gnarled that it seems to reach forward and predict the next ten years of rock's progression.
31. Smith & Mighty featuring Alice Perera - DJ-Kicks EP
(Studio !K7: 1998)
Bristol trip hop from the originators of the form. Nearly all of their records are splendid, but this little EP, recorded as a companion to their brilliant DJ-Kicks mix on Studio !K7, distills everything great about the crew into one exceedingly lush slice of perfection. Like some hazy afternoon vista bathed in mist, this sun-glazed melancholia feels like a daydream that lasts deep into the night. The remix on the flip is a bit of storming UK hip hop, featuring an uncredited MC Kelz. I've always loved the way that each version samples a bit of vocal from the other. This is one of those records that never fails to bring the memories flooding back, and along with the accompanying mix was the soundtrack to the better part of my final year in high school.
30. Neu! - Neu! '75
Motorik Krautrock speeding down an endless stretch of highway, this also possesses some of their gentlest moments. Seeland, in particular, sounds exactly like the sunrise looks when you're up early enough to watch the world wake. The flipside of the coin boasts Hero and After Eight, two exhilarating proto-punk onslaughts that achieve a sort of rock 'n roll perfection.
29. Marvin Gaye - Here, My Dear
Spaced out smooth soul. The confessional nature of the material - focusing on the disintegration of Gaye's marriage to Anna Gordy - marks it out as unique, especially within the context of late 70's boogie-tinged soul. I've often felt that parts of this record (especially A Funky Space Reincarnation and Is That Enough) share an affinity with certain records by The Orb, prefiguring that same extra-dimensional sense of gently shimmering psychedelia.
28. Rammellzee vs. K-Rob - Beat Bop
Early hip hop's mad visionary stretches out in this loping sidelong groove, coming on like a hip hop update of Sly Stone's Africa Talks To You/The Asphalt Jungle. Jean-Michel Basquiat's production is crisp and spacious as his diagram on the sleeve, and no other MC had more claim to be dropping science than Rammellzee.
27. Kate Bush - The Dreaming
Strange, cutting edge art-pop constructed with heavy use of the Fairlight sampler by this visionary British songstress. Kate is incredibly moving throughout, her voice a controlled fury at the center of these fiercely brilliant songs, wherein she deftly coalesces shards of pure sound into form much like a nebula gradually becomes a star. Choosing highlights is virtually impossible, for as surely as each song differs wildly from the other, they're simultaneously all of a piece, the jigsaw edges of each locking with the others into a seamless fabric of inner space.
26. Milton Nascimento & Lô Borges - Clube Da Esquina
Landmark Brazilian double album, brimming with pure majesty and splendor. Grounded in Tropicália and samba, there are also deep currents of acid-psyche and even space rock running through its core. The Clube Da Esquina group achieve such an absorbing widescreen sound here, launching off into hitherto unexplored and expansive realms, that its difficult not to get lost in the very sound of the record. Trust me, you'll want to set aside an afternoon for this one...
25. E-Dancer - Velocity Funk
Stomping Detroit techno from Kevin Saunderson, a figure who more than any other has had a profound influence on my own musical life. Around this time, there were loads of great records coming out of Detroit, which was enjoying one of its periodic renaissances. For me this was the apex. Velocity Funk is a pounding hardcore banger that seemed to be everywhere at the time (see also Stacey Pullen's remix), but it's World Of Deep on the flip - with that deeply haunting bassline and sheer, rolling waves of psychedelic sound - that really captured my imagination.
24. King Sunny Adé & His African Beats - Check 'E'
(Sunny Alade: 1981)
Nigerian juju from King Sunny Adé on his own Sunny Alade imprint, with both sides of the record encompassed by these great, effortlessly flowing suites. The steel guitar sound heard here stands among my favorite pure sounds ever, gliding through a poly-rhythmic web of backing guitars and percussion as they churn beneath those gently chiming bells. His show at The Belly Up a few years back was a real treat, and remains one of the great concert experiences of my life.
23. Gwen Guthrie - Padlock
Eighties post-disco stretched out and dubbed to abstraction by Larry Levan. This whole mini-album flows together into one long kaleidoscopic mix, the bedrock rhythms of the peerless Compass Point All Stars (Sly Dunbar, Robbie Shakespeare, Darryl Thompson and Wally Badarou) gently tumbling out into space. Gwen always had such a warm presence that she invested in her music and this is no exception.
22. Bobby Byrd - Back From The Dead
(International Brothers: 1974)
Gritty, apocalyptic funk from the man who mentored a young James Brown and anchored the legendary J.B.'s. The horn fanfare on Back From The Dead is one of the great openings of all time to one of the mightiest funk songs ever laid down, and The Way To Get Down on the flip might even be better.
21. Junior Byles - Beat Down Babylon
(Dynamic Sounds: 1972)
Marvelous roots reggae LP wherein each and every song is immortal, every note perfectly played and Byles' voice outstanding. Lavishly produced by Lee "Scratch" Perry after his falling out with The Wailers (for anyone wanting to investigate reggae music as thoroughly as it deserves, Lloyd Bradley's indispensable Bass Culture tome is essential reading), you can especially hear his fingerprints all over Coming Home. Everything here shot through with a gentle melodic sway so intoxicating that it's sometimes difficult not to simply let the record play out all day. A front to back masterpiece.
20. A Guy Called Gerald - 28 Gun Bad Boy
(Juice Box: 1993)
Awesome proto-jungle. From his early tenure in 808 State and the Voodoo Ray/Automanikk era to his status as a drum 'n bass innovator, Manchester's Gerald Simpson looms large over British dance music. This album is the culmination of early records on his own Juice Box imprint, with which he essentially forged the idea of jungle out of an interface between his techno past and hardcore present. It's the sound of a restlessly inventive dreamer kicking through the ceiling and into the clouds. To this day, it remains full of possibilities.
19. Sun Ra And His Astro Infinity Arkestra - Atlantis
Space age jazz from this tireless innovator who managed to maintain his Arkestra through the four decades after big band's golden age until his death. The first side features Ra experimenting with the newly issued Hohner Clavinet, while the second is given over to the sidelong wild free jazz excursion Atlantis, sounding like a field recording of that mythical empire's cataclysmic descent into the sea.
18. Adam And The Ants - Dirk Wears White Sox (U.S. Version)
Adam Ant was the first artist I ever got into in a big way, and my enthusiasm never waned: a definite case where I love nearly everything he's done. This is the man at his most raw and unvarnished, plying a sort of angular new wave post punk... with a hefty dose of rock 'n roll thrown in for good measure. His early band, an entirely different proposition than the one that would make it big a year later, is one of the great turn-on-a-dime powerhouse units in rock. The U.S. version includes both sides of the phenomenal Zerox/Whip In My Valise, tracks that blew me away when I first heard them as a 14 year old. I can't tell you how happy I was that his recent show at 4th & B leaned so heavily on this material.
17. Talk Talk - Spirit Of Eden
Embryonic post-rock, from a time when it was still a genre yet to exist. These erstwhile new romantics stretch out far beyond the dancefloor into a state of permanent abyss. It's the omnipresent, swelling Hammond organ that elevates this just above Laughing Stock (perhaps the more obvious choice) for me, the impassioned vocals of Mark Hollis doubly poignant in this context. Possessing a gently smoldering intensity, their music is disarmingly spiritual and direct.
16. Jamie Principle - Waiting On My Angel
Jamie Principle's improbably early house missive, arriving out of the ether fully-formed on his own Persona imprint. Dreamlike and haunting in all three versions, this is a wholly alien music even within the context of its own scene. It's a tragedy that such an obviously massive talent got such a raw deal, often not even getting credit on the sleeves of his own records. If there's one house artist that I wish had the chance to record an album in the eighties, its Jamie Principle.
15. Miles Davis - Get Up With It
Fusion - in this case the elements fused being earth and fire - an untold substance then molded into these towering, monumental grooves. He Loved Him Madly is a 32-minute dedication to the late Duke Ellington, ambient jazz picking up where In A Silent Way left off, while Calypso Frelimo and Maiysha establish some spooky fourth world voodoo.
14. Roxy Music - For Your Pleasure
Gothic glam rock, with Brian Eno still in the fold, generating his inimitable atmospherics and pushing the whole affair down some thoroughly surreal avenues. Bryan Ferry still sounds alien on each of these haunting numbers, while the band inhabits an island all their own. The Bogus Man and In Every Dream Home A Heartache are particularly obsessive and dreamlike, while Editions Of You never fails to burn the house down.
13. The Jimi Hendrix Experience - Electric Ladyland
Hendrix the futurist in experimental mode as The Experience launch into deep space, touching on everything from hard rock (Voodoo Child (Slight Return)) to space music 1983...(A Merman I Should Turn To Be) and everything in between (including Gypsy Eyes and Crosstown Traffic, both improbably forward-thinking, wild breakbeat stormers) on this blazing, nomadic double-LP.
12. The Beatles - Beatles For Sale
The Beatles at their most vulnerable and downcast, captured here on the cusp of their transition from infectious power pop to beatnik-inflected folk rock into psychedelia and beyond. The seeds of the groups endlessly fertile mid-period are here. Teeming with youthful passion, this record captures the intensity with which one seems to experience everything as a teenager.
11. The Meters - The Meters
Definitive New Orleans funk. The first LP from this group of loose-limbed legends and one of the great bands of all time. Everything here so disciplined and clean that its hard to believe it was recorded in 1969 (the year of Woodstock, endless jamming, etc. etc. etc.). This is a sparse instrumental funk that rocked like hip hop long before it was ever even sampled, existing in a class all its own.
10. The Stooges - Fun House
Molten rock 'n roll. Iggy Pop is as ferocious here as he would ever be, while the band try their hardest to drown him out in this densely tangled sonic jungle. Of course you don't just drown out Iggy Pop, but you can still hear him clearing all those sonic vines out of his way in a panic (Let me in!). The sound this nasty bunch of thugs summon here is elemental.
9. Nicolette - Now Is Early
(Shut Up And Dance: 1992)
A singular collection of proto-jungle torch songs produced by Shut Up And Dance. Sounding out of time in part thanks to their visionary, stripped down production, these skittering avant pop numbers are also shot through with a deep sense of the uncanny - which is entirely down to Nicolette. A truly unique songwriter and vocalist, skewed in the best possible sense, her records and guest spots are all defined by their idiosyncratic brilliance. Now Is Early, her debut, is positively steeped in it. An unheralded masterpiece.
8. Kraftwerk - Computer World
(Kling Klang: 1981)
Exquisitely poised Germans further mechanize their sound and casually invent electro in the process. Home to some of the warmest synths you will ever hear. For me, this beats The Man-Machine by only the slightest margin, those next-level beats the deciding factor. Possibly the most perfect record ever made with machines.
7. Curtis Mayfield - Roots
Visionary soul man's second studio LP, a work of majestic orchestral soul festooned with his sublime guitar work. Astonishingly innovative, full of breathtaking sonic vistas that stretch as far as the eye can see, crawling with the dense stylings of his orchestra and anchored by a backbeat that spells doom. Mayfield is there to guide you through it all, honest and touching as ever.
6. The Byrds - Fifth Dimension
Folk-rockers expand their sound into hitherto unexplored territory, informed by their deep admiration of both John Coltrane and Ravi Shankar, and wind up inventing acid rock in the process. Here, their straight folk numbers are perfected in the shimmering Wild Mountain Thyme and John Riley, while Eight Miles High (Gene Clark's parting gift to the band) sees them soar to unprecedented heights (further explored in I See You and What's Happening?!?!). Even the tracks that didn't make the cut (Psychodrama City, in particular) are phenomenal.
5. Tricky - Maxinquaye
(4th & Broadway: 1995)
Epochal trip hop debut from Tricky, wherein he rewrites the rule book, cuts it to pieces and then tapes it back together in an order of his choosing. By way of example, Aftermath's casually brilliant, loping groove (co-produced with Mark Stewart) stitches together bits of rhythm from Marvin Gaye and LL Cool J, samples dialogue from Blade Runner and quotes from both David Sylvian and The Rascals. Tricky's murmur anchors the pervading atmosphere of dread as Martina's ghostly wail haunts every corner of the soundscape. Oh yeah... and Hell Is Around The Corner is my favorite song ever.
4. Can - Future Days
(United Artists: 1974)
Legendary German band at their most aqueous, their telepathic interplay lifting off into the upper atmosphere. Damo Suzuki, with one foot out the door, sounds too hip to be happy as he casually lays down his most soothing set of vocals on a Can record. Moonshake is an irresistibly slinky groove and the band's greatest pop moment, while Bel Air, the sidelong jam that encompasses the entirety of the second side, is so lush and expansive that it seems capable of supporting its own ecosystem.
3. Sly & The Family Stone - There's A Riot Goin' On
Sly Stone's dusted masterpiece, sounding like his Woodstock-era recordings left out and faded by the sun. Crawling rhythms from ancient beatboxes spiral off into infinity, every edge of the soundscape blunted and out of focus, as timeworn tapes spool out in blurred slow-motion. The tempos drag, the prevailing mood is downbeat and the sound itself is divine.
2. Rhythim Is Rhythim - The Beginning
Derrick May surfing a wave of pure innovation. The greatest techno record ever made bar none. Simultaneously cerebral and driving, it appeals to the mind and body in equal measure. That it's muted reception at the hands of the critics was partly responsible for the man's untimely retirement is a shame. The Beginning itself might be the undeniable centerpiece, but from the dazzling technoid disco of Drama to the geometric precision of Emanon and Salsa Life's tuff versioning of Strings, every track is sublime.
1. Big Audio Dynamite - Megatop Phoenix
Number One. My favorite record of all time, no question. Always drawn to Contact, the record's big single, I was blown away when I finally tracked down a copy of the full album - a sonic utopia where pop music meets the rave. This is where Mick Jones' fascination with sampladelia is fully absorbed into his immortal knack for penning a tune, resulting in a true embarrassment of riches. Someday I'll write a book about this record.